Pretty Woman (1990) - Quotes - IMDb Pretty Woman (1990) Vivian : People put you down enough, you start to believe it. Edward Lewis : I think you are a very bright, very special woman. Vivian : The bad stuff is easier to believe. You ever notice that? [after negotiating three thousand dollars] Vivian : I would have stayed for two thousand. Edward Lewis : I would have paid four. Old Lady at Opera : Did you like the opera, dear? Vivian : It was so good, I almost peed my pants! Edward Lewis : She said she liked it better than Pirates of Penzance. Shop assistant: Hello, can I help you? Vivian : I was in here yesterday, you wouldn't wait on me. Shop assistant: Oh. Vivian : You people work on commission, right? Shop assistant: Yeah. Edward Lewis : You can't charge me for directions! Vivian : I can do anything I want to baby, I ain't lost. Edward Lewis : I told you not to pick up the phone. Vivian : Then stop calling me. Edward Lewis : I never treated you like a prostitute.

[Walks away] [Kit is trying to cheer up Vivian] Vivian : Tell me one person who it's worked out for. Kit : What, you want me to name someone? You want like a name? Oh, God, the pressure of a name... I got it. Cindafuckin'rella Vivian : That would make you a... lawyer. Edward Lewis : What makes you think I'm a lawyer? Vivian : You have that sharp, useless look about you. Vivian : Yeah. Be still like vegetables. Lay like broccoli. Edward Lewis : Look, I'll tell ya what. I'll be back. We'll do broccoli tomorrow. Share this: Facebook | Twitter | Permalink Hide options Edward Lewis : People's reactions to opera the first time they see it is very dramatic; they either love it or they hate it. If they love it, they will always love it. If they don't, they may learn to appreciate it, but it will never become part of their soul. Edward Lewis : So what happens after he climbs up and rescues her? Vivian : She rescues him right back. Vivian : Bridge? He's not really my uncle.

Bridget : They never are dear. Share this: Facebook | Twitter | Permalink Hide options [last lines] Happy Man : Welcome to Hollywood! What's your dream? Everybody comes here; this is Hollywood, land of dreams. Some dreams come true, some don't; but keep on dreamin' - this is Hollywood. Always time to dream, so keep on dreamin'. [At the beginning of the evening] Vivian : In case I forget to tell you later, I had a really good time tonight. Lady at polo match: Edward is our most eligible bachelor, everyone is trying to land him. Vivian : Oh, I'm not trying to land him, I'm just using him for sex. Vivian : Can I call you Eddie? Edward Lewis : Not if you expect me to answer. Edward Lewis : 6 nights at $300 is $1800 Vivian : You want days too. Philip Stuckey : Oh, God! What? Edward Lewis : It corners like it's on rails. Vivian : Are you sure you want me to stay the night? I mean, I could just pop ya real good and get outta here.

Edward Lewis : No, I'd really like you to stay. I don't want to be alone tonight. Vivian : Is it your birthday? Edward Lewis : No, no. Not my birthday. Vivian : Oh. 'Cause you know, I've been the surprise at a lot of birthday parties. Share this: Facebook | Twitter | Permalink Hide options Vivian : When I was a little girl, my mama used to lock me in the attic when I was bad, which was pretty often. And I would- I would pretend I was a princess... trapped in a tower by a wicked queen. And then suddenly this knight... on a white horse with these colors flying would come charging up and draw his sword. And I would wave. And he would climb up the tower and rescue me. But never in all the time... that I had this dream did the knight say to me, "Come on, baby, I'll put you up in a great condo." Vivian Ward (Character) Vivian Ward (Character) from Pretty Woman (1990) The content of this page was created by users. It has not been screened or verified by IMDb staff. There may be more photos available for this character.

To select more photos to be displayed in this character's gallery, click the Edit Photos link. Overview From Pretty Woman (1990) Vivian : [Vivian slips an escargot while having dinner with Edward and Mr. Morse] Oops... slippery little suckers. See more » Update You may correct errors and omissions on this page directly. Clicking the 'Update' button will take you through a step-by-step process. IMDb Everywhere Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!

Film History of the 1990s Film History of the 1990s 1970s | 1980s | 1990s | 2000s | 2010s James Bond Films in the 90s: Not unexpectedly, Agent 007 James Bond films flourished in the 90s (all with Pierce Brosnan), although there was a six year gap between the 16th film, Licence to Kill (1989) and the next Bond film, due, in part, to prolonged litigation over rights to the James Bond character stretching back 40 years. [The conflict was between Kevin McClory, a producer and coscreenwriter of Thunderball (1965), who attempted to claim a piece of MGM's $1 billion James Bond franchise by specifically asserting, in 1997, that he was co-owner of the Bond character.

The case, between MGM/UA and Sony, was finally settled by the courts in the late 1990s]: GoldenEye (1995) , the 17th James Bond thriller from first-time Bond director Martin Campbell; the most lucrative of the series' films and noted for the first appearance of Pierce Brosnan as 007 (in Bond's 5th incarnation); also starred Izabella Scorupco and Famke Janssen as the 'Bond Girls' and Sean Bean as the villain (Alec Trevelyan) Tomorrow Never Dies (1997) - the 18th official Bond film in the series, with Pierce Brosnan against a crazed, manipulative megalomaniac Jonathan Pryce; Michelle Yeoh and Teri Hatcher starred as 'Bond Girls' The World is Not Enough (1999) - the 19th official entry and director Michael Apted's first Bond film; starring Sophie Marceau as Elektra King, and Denise Richards as Dr.

Christmas Jones Die Another Day (2002) - the 20th Bond film and Brosnan's fourth film; starring Halle Berry as Jinx; directed by Lee Tamahori Major Blockbusters: Phenomenal Successes Since the making of Jaws (1975) , studio executives were primed toward making blockbusters to meet the bottom line. In the 90s, many of the greatest box-office hits of all time (in the top twenty) were made and marketed with sophisticated publicity and merchandising campaigns: Steven Spielberg's and Universal's f/x laden Jurassic Park (1993) (based upon Michael Crichton's 1990 novel) with photo-realistic, computer-generated dinosaurs spliced into live-action sequences, i.e., the car-crunching T-Rex sequence Adrian Lyne's Indecent Proposal (1993), in which wealthy Robert Redford offered one million dollars as the price-tag for one night with married Demi Moore Chris Columbus' Mrs. Doubtfire (1993) Robert Zemeckis' Forrest Gump (1994) The Lion King (1994) the apocalyptic disaster film ("Earth!

Take a good look.

It could be your last") from director Roland Emmerich Independence Day (1996) - that set a record by grossing $100 million in box-office receipts during its first six days, and won a Best Visual Effects Oscar - mostly for the sequence of the White House exploding Twister (1996) - about the chasing of tornadoes by researcher Bill Harding (Bill Paxton) while trying to divorce his wife Jo (Helen Hunt) Titanic (1997) - see below Men in Black (1997) - with Tommy Lee Jones and Will Smith as black-clad buddies on a mission Spielberg's sequel The Lost World: Jurassic Park (1997) Michael Bay's top-grossing, but expensive-to-make Armageddon (1998) from Touchstone (a Disney Company) Star Wars: Episode I - The Phantom Menace (1999) - a box-office success although derisively criticized by fans and other reviewers as shallow story-telling but with dazzling visual effects The Mummy (1999) , a glossy remake of the original, with French Foreign legion hero Brendan Fraser stumbling upon an ancient city in Egypt and awakening high priest Imhotep Toy Story

 2 (1999) But the biggest box-office ($294 million) and critics favorite - and psychological thriller - was writer/director M.

Night Shyamalan's The Sixth Sense (1999) - about a 9 year-old boy (Haley Joel Osment) who saw ghosts of dead people (with the memorable tagline "I see dead people") all around south Philadelphia, and who shared his ghostly experience with child psychologist Bruce Willis. The mysterious film from an unknown director generated much talk over its unexpected twist ending. [There were at least five films famous for their gripping twist or surprise endings in this decade: The Crying Game (1992), Se7en (1995), The Usual Suspects (1995), and Fight Club (1999) could be added.] Hollywood was relieved (and recouped its costs) when its traditional kind of blockbuster did well in the summer of 1991, evidenced by James Cameron's expensive sequel Terminator 2: Judgment Day (1991) .

It featured superstar Arnold Schwarzenegger ("Hasta la vista, baby!") as a T-800 cyborg, and incredible, quicksilver "morphing" effects of the opposing, molten-metal T-1000 android (Robert Patrick) produced with high-powered Silicon Graphics super-computers). It was the first film with a $100 million budget. [Cameron had written and directed the earlier low-budget The Terminator (1984) with modest success. Likewise, he had transformed Ridley Scott's Alien (1979) into a big-budget sequel titled Aliens (1986) .] Writer/director Cameron's next film (with secret agent Arnold Schwarzenegger as Harry) was True Lies (1994) - a Bond-like spy-adventure packed with special effects, thrills, an exciting jet and car chase over the Florida Keys, and tongue-in-cheek comedy about how Harry's wife Helen (Jamie Lee Curtis) didn't know his occupation.

[It was the first movie with a budget to exceed $100 million, and eventually grossed $365 million.] Ridley Scott closed the decade with the Best Picture, multiple-Oscar winner Gladiator (2000), a computer-enhanced Roman Empire sandals-toga epic with Australian actor Russell Crowe as the virtuous and wronged Maximus who sought revenge in the Coliseum. The Phenomenon of Titanic: Writer/director James Cameron solidified his reputation as the undisputed king of mega-blockbusters in this decade with his studio-shared (Fox and Paramount) Titanic (1997) (grossing $600 million in the US alone, and $1.8 billion worldwide for the studios). It was the first film with a budget exceeding $200 million. Titanic retold the spectacular, epic-disaster of the 1912 ill-fated, maiden voyage cruise of the R.M.S. Titanic, when it was pierced by an iceberg. The tense scene of the sinking of the ship was created with state-of-the-art digital effects and a life-size version of the ship.

In addition, a secondary love story between star-crossed lovers - poor passenger Jack Dawson (Leonardo DiCaprio) and upper-class Rose DeWitt Bukater (Kate Winslet), told in flashback by an older Rose (Gloria Stuart) slowly built to the inevitable conclusion. The melodramatic film was notable for many milestones: it became the highest grossing and most successful film of all time (passing the megahit of the past Gone with the Wind (1939) ) its worldwide gross was $1.835 billion, and it was the first movie to gross $1 billion it was the most expensive film in Hollywood history estimated at about $200 million it tied Ben-Hur (1959) with its eleven Oscar wins It also featured Celine Dion's popular song: 'My Heart Will Go On.' The mega-hit even surpassed Steven Spielberg's box-office blockbusters: Jurassic Park (1993) and E.T.: The Extra-Terrestrial (1982) .

Minor Films Were Also Successful: Other successful films were small, comparatively cheap, and often independently-produced films that unpredictably soared at the box office: director Frank Marshall's Arachnophobia (1990) told about a threatening lethal spider/creature that made its way to California from Venezuela; it starred John Goodman as the town exterminator, and Jeff Daniels as a doctor afraid of spiders director Chris Columbus' blockbuster Home Alone (1990) and scripted by John Hughes - was one of the most lucrative comedies ever made, with new child star Macaulay Culkin as an 8 year-old boy accidentally left behind when his parents fly off to Paris for Christmas vacation and foiling robbers Harry and Marv (Joe Pesci and Daniel Stern); it was followed by a less-successful sequel Home Alone 2: Lost in New York (1992) with the same slapstick gimmicks director Garry Marshall's call-girl fantasy romance Pretty Woman (1990) (released by Disney Studios - its highest grossing release up to that time), sent sweetheart superstar Julia Roberts catapulting to fame in the Disney-fied Cinderella-like story of a Hollywood Boulevard streetwalker's (Vivian Ward) transformation while spending a

 week (for $3000) with silver-haired Wall Street millionaire Richard Gere (as Edward Lewis) at the Regent Beverly Wilshire Hotel comedy director Jerry Zucker's supernatural, tearjerker love story Ghost (1990) starred Demi Moore and Patrick Swayze as passionate lovers separated by tragedy but brought together by psychic spirit medium Whoopi Goldberg (a Best Supporting Actress Oscar winning role); the film revived the Righteous Brothers' 60s hit "Unchained Melody" The Bodyguard (1992) was one of the top-grossing films of its year, with Kevin Costner as a Secret Service agent hired to protect a musical superstar (Whitney Houston in her acting debut) screenwriter Frank Darabont's directorial debut film that was narrated by lifer inmate 30265 (Morgan Freeman), The Shawshank Redemption (1994) , was the first of his two 'life-affirming' prison dramas in the decade that were both adapted from works of horror writer Stephen King.

[Although it suffered poor numbers at the box-office, its enormous success came after video release, and it became a sleeper hit through word-of-mouth.] the Australian film Muriel's Wedding (1994) was a sleeper hit that starred Toni Collette as an unconventional woman who felt unloved and worthless, so she moved from the small town of Porpoise Spit to Sydney in search of the perfect man to marry Italy's Il Postino (The Postman) (1995) was the first foreign-language film since 1973 to be nominated for Best Picture Clint Eastwood acted and directed The Bridges of Madison County (1995), portraying a National Geographic photographer who entered into a middle-aged love affair with housewife Meryl Streep another serial killer crime drama of the decade - David Fincher's unflinching police thriller Se7en (1995) followed two detectives (retiring cop Morgan Freeman and rookie cop Brad Pitt) in pursuit of a maniacal psychopath who dramatized the seven deadly sins (gluttony, greed, sloth, pride, lust, envy, and wrath) of the works of Chaucer and Dante with gruesome murders; the film's gruesome ending (

a head-in-a-box) was controversial, but didn't deter the film from garnering over $300 million in worldwide box-office receipts actor/director/writer Roberto Benigni's sentimental Italian, WWII comedy-drama Life is Beautiful (1998) was the most successful sub-titled, imported foreign-language film of all time - a mixed, Chaplinesque fable of courtship and the Holocaust; the film won Best Foreign Film and Best Actor Oscars David Fincher's daring, feverish and dark non-linear satire Fight Club (1999) found a large (and sometimes controversy-invoking) audience with its compelling, grim and twisting story about the glorification of self-destructive violence by a men's club, with anonymous voice-over narration provided by Edward Norton Frank Darabont's second film, The Green Mile (1999), was a lengthy treatise about a magical death-row inmate and convicted killer named John Coffey (Best Supporting Actor-nominated Michael Clarke Duncan), a pet mouse (Mr.

Jingles), and a head execution-row prison guard (Tom Hanks) Special-Effects Laden Films: Two special-effects-laden, predictably-scripted apocalyptic disaster films racked up huge profits. Both were about destructive meteors or asteroids hurtling toward Earth - in the same year: Mimi Leder's solemn and emotional Deep Impact (1998), with Robert Duvall cast as an astronaut who must blow up the threatening comet, Morgan Freeman as the US President, and Tea Leoni as a TV news reporter Michael Bay's fast-paced Armageddon (1998), with Bruce Willis (as Harry Stamper) and Billy Bob Thornton cast as two members of a crew of Texas oil-drillers called upon by NASA to save the Earth from a huge meteor headed its way; also with a romantic subplot featuring Ben Affleck and Liv Tyler At the close of the decade, another chapter of the Star Wars saga appeared after a sixteen year lapse: George Lucas' computer-generated return to his epic saga with the first sci-fi space episode, an inferior but financially successful prequel Star Wars Episode I: The Phantom Menace (1999) .

The eerie horror film Interview with the Vampire (1994) was based on Anne Rice's novel, and starred Tom Cruise as a decadent vampire in New Orleans who converted Brad Pitt to blood-sucking and immortality. And Clint Eastwood's latest directing and acting project, Space Cowboys (2000) used high definition television (HDTV) technology for the first time in a Hollywood feature. The Wachowski Brothers' The Matrix: Writers-directors Andy and Larry Wachowski's second feature film (following Bound (1996)) was the ambitious and inventive virtual-reality flick The Matrix (1999) . It starred Laurence Fishburne, Carrie-Anne Moss and Keanu Reeves, and won four Academy Awards (all in sound, editing, and visual effects technical categories). Slacker hacker Thomas Anderson/Neo (Keanu Reeves) was called as a messianic figure to save the world (of approximately the year 2199) from virtually indestructible Sentient Agents.

The blockbuster's wild popularity was due to its combination of comic-bookish plot, mysticism, philosophical complexity, computer-enhanced digital effects of its unbelievable action scenes, flying bullet-dodging ("bullet-time") and intriguing virtual worlds in which reality was redefined as a computer simulation. It helped to illustrate what the future would be of futuristic sci-fi action films with slick and smart plots, and jaw-dropping action. Big Losers, Flops and Bombs: Turkeys of the 90s Decade See this site's major sub-section on Greatest Flops and Box-Office Disasters . There were a number of expensive blockbusters that seemed like they would be sure-fire, instant successes for studio bosses, but there were no guarantees. It was becoming clear that expensive, star-studded films with reliable adventure, horror, fantasy or crime genre plots, or with state-of-the-art special effects and huge marketing campaigns, didn't necessary mean success at the box office. Unless Hollywood could sell its films to foreign markets, or find lucrative profits from the video market or cable/satellite TV industry or other outlets, many films were doomed to fail and lose money due to bloated budgets.

The disturbing trends begun in 80s continued into this decade, with unimaginative, vanilla-flavor plots, poor artistry, inferior production values, and hackneyed scripts. Despite massive production budgets and elaborate marketing and distribution campaigns (Hollywood studios had been transformed into money-making factories that were spending approximately $70 million per feature film by the late 1990s), the following films were major flops or were reviewed highly critically: The Bonfire of the Vanities (1990), director Brian de Palma's flop adaptation of Tom Wolfe's best-seller; mis-cast with Tom Hanks as the central character - a Wall Street broker. Hook (1991), another high-budget film from Steven Spielberg, was an odd and savagely-criticized updating of the Peter Pan legend. It starred Robin Williams (as Peter Pan), Dustin Hoffman (as Captain Hook), and Julia Roberts (as Tinker Bell).

Director Michael Lehmann's Hudson Hawk (1991) was Columbia/TriStar's ill-fated, unfunny, and poorly-executed attempt at a heist flick (with homage to Hitchcock's To Catch a Thief (1955) and Leslie Nielsen in The Naked Gun (1988)). It starred Danny Aiello, Andie MacDowell, and self-indulgent Bruce Willis in this vanity project as a reformed cat burglar who stole priceless da Vinci art pieces around the world. The film's budget of over $60 million brought in US box-office of only about $17 million. Director Renny Harlin's (star Geena Davis' husband! and known for Cliffhanger (1993)) and MGM/Carolco's bloated Cutthroat Island (1995) was one of the biggest flops of the decade (with an eventual budget of $100 million and box-office of only $10 million). The pirate movie was an adventure tale with horrible acting, a deficient script, continuity problems, and logistical issues due to being filmed on two continents (in Malta and Thailand).

Harlin's film starred B-list actor Matthew Modine opposite Geena Davis who was cast in the unlikely role of Captain Morgan Adams - a swashbuckling pirate queen in search of treasure; Carolco (makers of the Rambo series, Terminator II: Judgment Day (1991) , and Total Recall (1990)), didn't survive after the film's failure. Showgirls (1995) - a sleazy, big-budget 'adult-oriented' film that became a camp classic instead; the outlandish film was both a critical and commercial failure, and grossed only $20 million (half of its budgeted cost); Elizabeth Berkley (of TV's Saved By the Bell) starred as a stripper turned Las Vegas showgirl-dancer in a soul-less, exploitative plot with repugnant characters; the film was considered senseless, violent, and actually sexually boring; the film was the second pairing of director Paul Verhoeven (known for RoboCop (1987) and Basic Instinct (1992) ) and screenwriter Joe Eszterhas (also for Basic Instinct (1992)).

Star/director Kevin Costner's and Warners' over three-hour long futuristic sci-fi epic The Postman (1997) with Costner in the title role as a Shakespeare-quoting, Messiah-like postman (with homage to the Australian Mad Max films); based on David Brin's fantasy post-apocalyptic novel, the laughable film was budgeted at $80-100 million, with a US box-office of only about $18 million. Godzilla (1998) was an over-produced blockbuster from the team of Dean Devlin and Roland Emmerich; with an unwisely-redesigned monster-creature from the Japanese classic. Battlefield Earth (2000) was best known for being devoted Scientology member and spokesperson John Travolta's greatest all-time turkey; also noted for its ridiculous dialogue and poorly executed special effects, the unappealing film was a miserable adaptation of L. Ron Hubbard's science-fiction novel, and believed to be a propagandistic recruitment tool for the self-help 'religious' Church of Scientology; the $75 million flop was released at the same time as Ridley Scott's acclaimed Gladiator (2000).

The tasteless, vulgar, "middle-aged sex comedy" about marital infidelity, Town & Country (2001) failed miserably, with a budget of $85-90 million (double the original budget), and a box-office of only about $7 million; it featured an impressive cast: Warren Beatty and Garry Shandling as cheating husbands on their wives Diane Keaton and Goldie Hawn. The three-year production was so plagued with script problems and re-shoots that the studio postponed the film's opening date 13 times!

Other Films With Critical Reviews or Failed Box-Office Results: Steven Spielberg's Always (1989) starred Richard Dreyfuss and Holly Hunter - it was a remake of the classic WWII drama A Guy Named Joe (1943) with Spencer Tracy; it also featured Audrey Hepburn's final screen performance as a guardian angel Walter Hill's cop-buddy film sequel to Eddie Murphy's earlier box-office 1982 hit, Another 48 Hrs (1990) Top Gun director Tony Scott's Days of Thunder (1990), a high-concept film described simply as "Top Gun on wheels," starred Tom Cruise as a NASCAR stock-car racer, who became romantically involved with hospital brain specialist (Australian actress Nicole Kidman in her first American feature film) following a car accident; as a result of their acquaintance on the set, the couple were married soon after filming wrapped Warren Beatty's stylish, brightly-colored but lifeless film Dick Tracy (1990) from the Chester Gould comic-strip of the same name, with Beatty as the title character, Madonna as blonde Breathless Mahoney, and Al Pacino as crime boss Big Boy Caprice Francis Ford Coppola's The Godfather (Part III

) (1990) , the weakest film in the trilogy, and poorly cast with the director's daughter Sofia in the crucial role as mob patriarch Michael Corleone's (Al Pacino) daughter Mary Rocky V (1990) , a tired and depressing fifth (and final?) chapter of the long-running series about boxer Rocky Balboa (Sylvester Stallone) Jack Nicholson's directorial debut film The Two Jakes (1990), a convoluted sequel to the legendary Chinatown (1974) , with Nicholson reprising his role as LA detective Jake Gittes further film adaptations of Larry McMurtry novels (previously The Last Picture Show (1971) and Terms of Endearment (1983) ) failed this time at the box-office as continuation sequels of their originals (with "Where are they now?" plots) -- Peter Bogdanovich's Texasville (1990) and director Robert Harling's The Evening Star (1996) director Robert Benton's flawed period crime drama Billy Bathgate (1991), adapted from E.L.

Doctorow's story, with Dustin Hoffman and Nicole Kidman director Garry Marshall's romantic drama Frankie and Johnny (1991), with Al Pacino and Michelle Pfeiffer cast as co-workers in a small Greek diner director Russell Mulcahy's inferior fantasy sequel Highlander II: The Quickening (1991) - both a critical and commercial flop, with over-paid actor Sean Connery More dubious Kevin Costner films: 1- director Kevin Reynolds' Robin Hood: Prince of Thieves (1991) 2- the notoriously over-extended aqua-post-apocalyptic Waterworld (1995), infamously called "Fishtar" - although the film ultimately broke even 3- co-writer/director Ron Shelton's sports comedy Tin Cup (1996) with Costner as a US Open golfer who fell for psychologist Renee Russo Bram Stoker's Dracula (1992), also from Coppola, another retelling of the Dracula tale with Gary Oldman as the Count, Winona Ryder as Mina, Anthony Hopkins as the vampire slayer Van Helsing, and Keanu Reeves as Jonathan Harker The Last Action Hero (1993), starring '

action hero' Arnold Schwarzenegger failed -- even at the height of the star's popularity!

the awful The Avengers (1998) adapted from the TV spy series of the same name, with Ralph Fiennes as John Steed, and Uma Thurman as Emma Peel Soldier (1998), an uncompelling outer-space version of the classic western Shane (1953) that starred Kurt Russell, was a disaster aging director Woody Allen and his films in the late 1990s went mostly into decline (with lower box-office receipts and lukewarm reviews), including: Deconstructing Harry (1997), Celebrity (1998), Curse of the Jade Scorpion (2001), and Hollywood Ending (2002) Barry Sonnenfeld's unfunny action-comedy (and sci-fi western) Wild Wild West (1999), although appealing for Will Smith's role and its lavish special effects, was a money-losing revival of the classic TV series of the same name the expensive science-fiction thriller Red Planet (2000) with Val Kilmer flopped miserably the Farrelly Brothers' unfunny Osmosis Jones (2001) with Bill Murray was a disappointing box-office turkey - a mixture of live-action and animation Disney's animated Treasure Planet (

2002), a futuristic sci-fi version of the classic Robert L.

Stevenson novel Treasure Island, was a major flop Eddie Murphy's starring vehicle, the sci-fi comedy The Adventures of Pluto Nash (2002), was a dud The adventure film remake of the 1939 film, The Four Feathers (2003), was an expensive box-office bomb Although Jim Carrey received the first of many $20 million Hollywood salaries in the decade for his appearance in director Ben Stiller's dark, unsettling comedy The Cable Guy (1996), the film failed miserably. A lot of lesser horror films failed at the box office, such as the sequel I Still Know What You Did Last Summer (1998) (scriptwriter Kevin Williamson's original film in 1997, a follow-up to Scream, fared slightly better) and Urban Legend (1999).

Plot Line Derivatives for 90s Hollywood Films: To retread well-known and well-accepted plots, storylines, or film properties from the past that would potentially provide guaranteed profits, Hollywood studios looked to comic book characters or superheroes, sports figures, popular TV shows or animations, or videogames for inspiration for live action films (and their sequels), such as: The Rocketeer (1991) Mighty Morphin Power Rangers: The Movie (1995) Mortal Kombat (1995) Pokemon: The First Movie (1998) Dudley Do-Right (1999) Pretty Woman (Film) - TV Tropes Pretty Woman You need to login to do this. Get Known if you don't have an account Share Elizabeth: She's wonderful, Edward. Where ever did you find her? Edward: 976-BABE. A 1990 Romantic Comedy starring Richard Gere and Julia Roberts , directed by Garry Marshall , and named for the song by Roy Orbison .

Gere plays Edward Lewis, a wealthy businessman who hires Vivian Ward (Roberts), a Hooker with a Heart of Gold , to serve as his escort while he stays in Los Angeles . They end up falling for each other. This movie was a genuine blockbuster when it came out, and it made then-23-year-old Julia Roberts a star ; she received an Academy Award nomination for Best Actress as well. Pretty Woman was initially intended to be a dark drama about prostitution in Los Angeles, but was reconceptualized into a romantic comedy. Today it is one of the most financially successful romantic comedies ever, making $178m in the States and another $285m worldwide for a total of $463m note roughly $855m adjusted for today, on a $14m budget with a R-rating and its subject matter to boot. The film was followed by a string of similar romantic comedies, including Runaway Bride , which teamed up Gere and Roberts under the direction of Garry Marshall once again. This film contains examples of: Anywhere but Their Lips : Vivian's one rule is that she never kisses on the mouth because it makes it too personal.

Somewhat Truth in Television : prostitutes often don't kiss on the mouth, but more because of the spread of infection (colds, flu, hepatitis, etc.) than the reason given in the film. At the Opera Tonight : Vivian has an emotional reaction to La Traviata (especially considering the subject). Berserk Button : Though reserved in anger, when Vivian mentions the sales people at a shop did not allow her to shop, he is angered and takes time to help her by ensuring the next place does treat her nicely. It should be said it isn't said if this is because it was Vivian who was insulted or one of his employees was slighted that set him off. Compressed Hair : Vivian hides voluminous hair under her blond wig. Pretty Woman Was Supposed To Be A Much Grittier Film - CINEMABLEND Pretty Woman Was Supposed To Be A Much Grittier Film By William Fanelli 1 year ago It's the 25th anniversary of Pretty Woman and as a result, we're looking back at the romantic comedy responsible for launching the amazingly successful career of its leading lady Julia Roberts .

Among the many interesting details surrounding the Gary Marshall -directed film is the fact that it was initially supposed to be much, much grittier. In remembering the 1990 film Pretty Woman, fans probably likely recall it as a delightful romance story following the wealthy businessman and silver fox Edward Lewis ( Richard Gere ), who falls for his incredibly lovable escort with a heart of gold, Vivian Ward (Roberts). While that's essentially what the movie became, it wasn't always so glossy and romantic. In fact the film wasn't even originally supposed to be a romantic comedy, but rather a dark drama. According to Yahoo Movies , the original script written by J.F. Lawton was actually titled $3,000, in reference to the amount of money the characters agree upon for their spending the week together. Doesn't have the same ring to it as Pretty Woman, does it? Not only did the title of Pretty Woman go through changes, the lead character Vivian made quite a transformation from script to screen as well. Turns out on the page she was initially a coke addict—which may have had something to do with why Michelle Pfeiffer, Molly Ringwald and Meg Ryan all passed on the role.

The character was so offensive, actress Daryl Hannah reportedly called the it degrading to women. Remnants of the original film's grit can be seen through Vivian's cocaine-addicted twitchy behavior, which Edward repeatedly comments on in numerous scenes. The darker side of the film is also revealed through some of the scenes that hit the cutting room floor, one of which involved a group of drug dealers who attempt to collect their debt by confronting Edward and Vivian—one of them threatening the pair with a skateboard equipped with a pop-out knife. Crafty and dangerous! Pretty Woman may have been intended to be a darker, more cautionary tale about prostitution and class in Los Angeles but the truth is it benefited greatly from its ultimate transformation into the iconic romantic comedy we know today. Grossing over $450 million dollars, it's difficult to argue it could have come even close to generating that kind of money had it held tightly to its original state. Had Denzel Washington , Daniel Day Lewis, or Al Pacino been cast in the role of Edward (the former two considered, the lattermost turned it down), the film would have, again, likely had a much different tone.

Thanks to Marshall, Roberts and Gere we can look back fondly on the now-iconic 90s rom-com... and potentially look forward to it becoming a Broadway musical . Subscribe To Topics You're Interested In close The Ugly Truth about "Pretty Woman" - California Prostitution Laws The Ugly Truth about “Pretty Woman” – California Prostitution Laws Home > Blog > The Ugly Truth about “Pretty Woman” – California Prostitution Laws The Ugly Truth about “Pretty Woman” – California Prostitution Laws The modern day Cinderella story captured in the film “Pretty Woman” – starring Julia Roberts and Richard Gere – has an unusual legal twist: a rich New York industrialist hires a Hollywood hooker to be his “girlfriend” during a complicated week of hostile business takeover. No big deal, you think. Edward Lewis (played by Gere) didn’t hire Vivian Ward (played by Roberts) for sex. He hired her for “companionship.” A true romantic comedy with a happy ending. A film producer’s dream come true! A box office bonanza! Despite the happy ending of this poor girl meets rich boy love story, Edward and Vivian have potentially broken California prostitution laws.

Engaging in sex for hire, either as a prostitute or as a customer can lead to serious criminal charges of disorderly and/or lewd conduct. California Prostitution Laws What California prostitution laws would the stars of “Pretty Woman” have faced if their story occurred in real life? Prostitution means engaging in a sexual act in exchange for money or other consideration (drugs, gifts, etc.). Prostitution in California is a crime of disorderly or lewd conduct under Penal Code Section 647. You can be charged with either: Engaging in prostitution; or Offering (this is also known as “solicitation”) or agreeing to engage in the act of prostitution. California police officers routinely arrest the prostitute, the soliciting customer (“john”), and often the go-between, or “pimp” if there is one. What Would Edward and Vivian Face if Ever Charged? Assuming that Edward and Vivian had made a contract for sex in exchange for money, they could be found guilty of engaging in prostitution if arrested and charged. Prostitution (or solicitation of prostitution) in California is a misdemeanor under Penal Code Section 647(b).

A first offense is punishable by up to six months in jail and/or a maximum fine of $1,000, or both. If you have a prior conviction for prostitution (or solicitation), California requires a sentence of at least 45 days in jail that must be served before you could be eligible for probation or work release. Similarly, two or more prior convictions for prostitution will increase your mandatory sentence to at least 90 days in jail. The court may impose an additional punishment if the crime of prostitution took place in a motor vehicle within 1,000 feet of a private residence. The court may decide to restrict your use of a motor vehicle for up to six months with exceptions made to drive to work, for employment purposes, or to attend school. Neither prostitution nor solicitation under Penal Code 647(b) requires mandatory sex offender registration pursuant to California Penal Code Section 290. However, the judge may discretionarily order you to register as part of your sentence. Discretionary registration pursuant to Penal Code Section 290.006 is imposed whenever the judge finds at the time of conviction or sentencing that you committed a crime as a result of sexual compulsion or for purposes of sexual gratification.

Additional “Crimes” Vivian may Have Committed At the beginning of “Pretty Woman” Julia Robert’s character Vivian is seen hanging around Hollywood Boulevard, scantily dressed in an area depicted as being known for streetwalkers. Ultimately, she saunters over to a fancy car being driven by Edward and says provocatively, “Hey sugar, are you looking for a date?” Vivian may be in violation of Penal Code Section 653.22, known as Loitering to Commit Prostitution. Police may charge a person they observe to be a prostitute, standing or walking in an area known for prostitution, who appears to be soliciting customers driving by. Although the suspect has yet to engage in an act of prostitution, the law exists to aid law enforcement in making arrests against people they believe to be prostitutes. Penal Code Section 653.22 is charged as a misdemeanor. A conviction can lead to up to six months in jail and/or a fine of up to $1,000. Are Edward and Vivian Guilty? Not likely. He doesn’t actually pay her until the end of the week, well after they’ve clearly fallen in love with each other.

That’s a gift, which is not consideration in a contract. Besides, Richard Gere played the role of a male prostitute (a “hustler”) named Julian in the movie American Gigolo in 1980. So it’s hard to say who is hustling who in Pretty Woman! Interestingly, actor Hector Elizondo was in both American Gigolo and Pretty Woman. Does that make him the pimp? On second thought, maybe these characters need to hire a really good criminal defense attorney! Wallin & Klarich is Here to Help If you or someone you care about is facing charges for prostitution, there might not be a happy ending for you if you don’t speak to our attorneys at Wallin & Klarich right away. At Wallin & Klarich, our attorneys have over 30 years of experience successfully defending our clients facing prosecution for disorderly and lewd conduct.

With offices in Los Angeles, Sherman Oaks, Torrance, Tustin, San Diego, Riverside, San Bernardino, Ventura, West Covina and Victorville, the knowledgeable criminal defense attorneys at Wallin & Klarich will be able to examine all of the evidence against you to determine if all of the elements of a crime can be proven beyond reasonable doubt. If not, we may be able to get your charges reduced or dismissed altogether. Our top priority is to get you the best possible result in your case. Call us today at (877) 4-NO-JAIL or (877) 466-5245 for a free telephone consultation. We will get through this together. Your Answer Author: Stephen Klarich Stephen Klarich is a partner at Wallin & Klarich and expert in the field of sex crimes. For over thirty years, Stephen Klarich has been handling criminal cases and matters involving sex offenses. With an unparalleled knowledge of sex crimes defense, Stephen Klarich protects his clients’ rights. Stephen Klarich has experienced significant success in obtaining a Certificate of Rehabilitation or Governor’s Pardon for his clients.

Thousands of clients have put their trust in Stephen Klarich and the attorneys at Wallin & Klarich in their time of legal need. View all posts by Stephen Klarich Stephen Klarich January 3, 2014 Contact Us Now If you or a loved one have been accused of a crime, now is the time to contact us. Name* Pretty Woman - Necklace Scene :: Movie Scenes, Movie Clips and More Pretty Woman Comment on Pretty Woman: Necklace Release: 1990-03-23 Clip Description Edward, (Richard Gere) gives Vivian, (Julie Roberts) an expensive necklace to wear for the evening to an event in San Francisco. Movie Description When millionaire wheeler-dealer Edward Lewis enters a business contract with Hollywood hooker Vivian Ward, he loses his heart in the bargain in this charming romantic comedy. After Edward hires Vivian as his date for a week and gives her a Cinderella makeover, she returns the favor by mellowing the hardnosed tycoon's outlook. Can the poor prostitute and the rich capitalist live happily ever after?

Director Pretty Woman / Romances.com The director, Gary Marshall, serves up a "Cinderella" story for the 1990s, wowing viewers, particularly women. Tagline: She walked off the street, into his life and stole his heart. "Pretty Woman" is a contemporary Hollywood fairy tale, a classic tale of love and redemption, that is a sweet romantic comedy; an innocent 'love story'. Edward Lewis (Gere) evolves into a better person, and Vivian Ward (Roberts) each have the chance to start over again, as a result of their love relationship. The basic story involves a handsome, rich, out-of-town guy, Edward Lewis, who hires a pretty young hooker, Vivian Ward for an extended, sexless "date," after she helps him to become unlost, and find his posh hotel. He winds up hiring her for the week; both as his night time "date," and as his assistant during the day, as he needs a female companion for business/ social reasons. When they fall in love with each other, complications ensue. Richard Gere delivers his standard cool, hunky performance, in stylish threads.

What is perceived as his charm or charisma works in this film, similar to his performances in "An Officer and a Gentleman" and "Runaway Bride." Roberts, as Vivian 'Viv' Ward, is radiant in the title role. With her youthful good looks and energy and that wide-screen smile, she lights up every scene she's in. "Pretty Woman" did great things for her career, becoming her signature film. She earned an oscar nomination for her performance, and won The People's Choice Award for Best Actress. Jason Alexander, as Philip 'Phil' Stuckey, excels as a slimy business associate of Gere's. As Alexander is a prolific actor of stage, screen, radio, and TV, it's amazing to me that Alexander's hot career is based on playing characters we'd rather punch in the face than talk with. Laura San Giacamo, as Kit De Luca, makes a strong impression as Roberts' friend and roommate. She is also a well-trained stage actress, and has done Off-Broadway productions as well as Regional Theater. After the birth of her son, who has cerebral palsy, she decided to put her efforts into television, because of the regular schedules, and no traveling.

She has scored big on TV, in "Just Shoot Me." My favorite scene is the film's storybook ending. Considering that this is a modern "Cinderella" story, the ending is seamless. Julia gets the perfect, romantic rescue scene, which includes a limousine, a fire escape, balcony, birds, music, a romantic kiss and red flowers. "Pretty Woman" is a great date movie because it is a great chic flick! Female viewers will be carried off into a warm, wonderful, romantic, fantasy world, of rags to riches. You just can't go wrong with a film that women love, despite some humorous situations, that can cause the sensitive to squirm a little. Quotes: Lewis: "So what happens after he climbs up and rescues her?" Vivian: "She rescues him right back."

Question: Vivian Ward and Edward Lewis are the central characters in which 1990’s romantic film comedy?
Answer: Pretty Woman